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283284 Los(e)/Seite
Los 24
A Minolta Dinax 7000 i No. 16323609 Camera, with instruction manual and custom sling strap, Minolta AF lens 1 - 200, a Minolta AF 35-105 zoom lens, Minolta AF 35-105 lens, Minolta Programme Flash 3200 i in original box, various Minolta creative memory cards including Close Up, Portrait, Sports Action, Depth Control etc., a Minolta AS lens with camera bag, coloured filters, lens covers and manual.
Los 3650
Thomson (Mrs. A), Memoirs of The Court of Henry the Eighth, Longman, Rees, Orme, Brown, and Green, London 1826, 8vo, two-volume set, title-page with engraved portrait frontispiece by T.A. Dean, period half-leather binding with marbled boards, armorial bookplate of Charles Robert Colvile, engraved by B. Warwick of Regent St Charles Robert Colvile (1815-1886), of Lullington Hall, nr. Burton-on-Trent, was an English Peelite and politician. He was MP for South Derbyshire twice from 1841-1859 and 1865-1868, as well as High Sheriff for the county from 1875 to 1876. A political maverick and country gentleman, Colvile began his career as a staunch protectionist Tory and ended it as a radical Liberal. His amendment to the 1867 reform bill lowered the copyhold franchise and his 1848 act gave tenant farmers the right to shoot game without a certificate.
Los 3184
A Victorian diptych Daguerreotype, of two gentleman, in typical formal dress, oval, 6cm x 5cm, gilt metal slip, hinged composition case moulded with shaped reserves and cartouches, 9.5cm high overall, 16.5cm wide (open), c. 1865; a 19th century Daguerreotype portrait of a gentleman, with beard, tied stock, frock coat and tweed waistcoat, 7cm x 5.6cm, gilt metal slip, 8.5cm x 7.1cm overall, c. 1860 (2)
Los 3630
Music Scores - Collection Complète des Quatuors d'Haydn, Nouvelle Edition, Gravée par Richomme, Chez Ignace Pleyel & Fils Aîné, Paris [1800-1810], large 4to, four-volumes, comprising Violino Parts I & II, Alto and Basso & Violoncello, title-page with portrait of Haydn engraved by Louis Darcis, after the original by Jean Urbain Guérin, half leather, spines tooled in compartments with lyres emblematic of the Muses Composer, conductor, and publisher Ignace Pleyel (1757-1831) studied with Haydn at Eisenstadt for five years beginning in 1772, around the time Haydn composed his seminal op. 20 quartets.
Los 3124
A Louis XVI Revival rectangular photograph frame, containing a bust-length portrait of Nicholas II of Russia within a watered purple silk mount, the borders of the frame cast with scrolls of leaves flanked both sides by beaded bands, ribbon-tied cresting with trophies and laurel, easel back, 24.7cm high, 16.2cm wide, late 19th century
Los 15
A rare Italian portable pillar sundial Initialled with maker's monogram I. A. G A rare Italian portable pillar sundial Initialled with maker's monogram I. A. G. A. F., dated 1778 The removable gilt ogee moulded cap with ball-shaped finial and internal plunger concealing two hinged brass gnomons over cylindrical shaft applied with printed paper scale annotated with calendar to upper edge with months annotated in Italian, over two opposing projected scales delineated with two sets of curved hour scales annotated with opposing Arabic and Roman numerals V-XII and 7-1 each scale with printed banner beneath, one annotated ESPOSTO IN FACCIA AL SOL, I. A. G. A. F. 1778 the other SEGNO LE ORE, elev. Pol. 45. the lower margins further inscribed in Italian to instruct which of the two gnomons should be used for each scale, on heavy crisply-turned cast gilt brass base, 16.5cm (6.5ins) high; with a brass cylindrical case applied with reinforcement strips to exterior. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Column or pillar sundials (sometimes termed shepherd's dials) are a type of altitude sundial probably developed during the early Renaissance. Indeed similar pillar sundials to the current lot were certainly in use well before the 1530's and feature in Hans Holbein's works 'The Ambassadors' and portrait of Nicholas Kratzer. The current lot is designed to operate at 45 degrees latitude and is used by first removing the cap and to fold-out the brass gnomons. The cap then needs to be re-inserted ensuring that the gnomons line up with the relevant date printed to the upper margin of the shaft. The instrument then needs to be placed in sunlight and aligned so that the shadow of the gnomon falls vertically down the column, the time will then be indicated at the point where the shadow terminates on the projected hour scale printed beneath. As the sundial relies on the altitude of the sun to provide a reading the hour scales are annotated with two opposing sets of numbers (one in Arabic numerals the other Roman) these allow the time to be ascertained both in the morning or afternoon and converge at six o'clock.
Los 73
A French porcelain inset gilt brass mantel clock The movement by Raingo Freres A French porcelain inset gilt brass mantel clock The movement by Raingo Freres, Paris, mid 19th century The eight-day countwheel bell striking movement with silk suspension and stamped with RAINGO FRERES, Paris roundel and numbers 391, 5 to backplate, the circular white enamel Roman numeral dial with repeat signature RAINGO FRERES PARIS to lower margin and with steel trefoil hands within foliate cast surround and hinged glazed bezel, in an elaborate rococo scroll cast and chased waisted case with floral spray surmount and spreading base centred with an inset porcelain panel painted with a female portrait, mounted on conforming fixed rocaille cast stand incorporating two cobalt blue ground panels painted with floral sprays, 27cm (10.5ins) high.
Los 108
A fine German gilt brass quarter striking table clock with annual calendar... A fine German gilt brass quarter striking table clock with annual calendar dial Engraved with initials P K F R , dated 155(4?) The posted iron triple fusee movement of 'cruciform' layout centred with longitudinal going train with verge escapement regulated by steel two-arm balance set above the top plate flanked by transverse quarter train opposing conforming strike train, the quarter train with cannon warning arbor applied over the locking detent arbor released via capstan wheel driven by the underdial motionwork operating a sliding shunt and sounding on a bell mounted within the superstructure above, the hour strike train now fitted with countwheel for Italian double six-hour striking and released in-turn by the quarter train via detent engaging with pins to the quarter countwheel and arbor passing across the front of the movement, the exterior with annual calendar dial now with vacant centre within concentric Zodiacal scale engraved for the Julian calendar divided onto five day intervals to inner track within reserve engraved with pictorial representations and respective symbols with divisions for every day to the outer track, the applied ring aligned with the Zodiacal scale and divided in a similar manner with each month labelled in Latin along with its length, the spandrel areas engraved with symmetrical hatched foliate scroll infill over conforming band to apron incorporating pivoted shutter for the vacant alarm winding hole engraved with the initials P K, F R , the opposing side now applied with twelve-hour chapter disc with hatched foliate scroll engraved centre within concentric Arabic numerals 13-24 and outer Roman numerals, the upper spandrel areas with conforming foliate infill, the lower margins engraved to match and now applied with three vestigial subsidiary dials for day-of-the-week, quarter-hours and date-of-the-month, the quarter train side with panel engraved with a Classical female playing a harp within an architectural archway fitted with shuttered winding hole for the quarters and another vacant hole probably originally for remote winding of the going train over hatched foliate scroll engraved panel to lower margin, the opposing strike train side with subsidiary countwheel position dial annotated in Arabic numerals 1-12 over vestigial alarm setting dial within further hatched leafy trail infill, the top with fine ogee-outline cupola with complex rectangular section spire finial over stylised flower buds applied to shoulders and six pierced circular portrait panels each depicting an allegorical profile within hatched leafy scroll decorated panel infill, the slender moulded cornice applied with squat urn finials and engraved with text DIE . STUND . UND . TAG . 155(4?) over the calendar dial opposing WACHET . DAN . IR . WIST . NIT over the hour dial, the angles incorporating square section three-quarter pilasters and plinths decorated with scribed-line panels, on shallow inverted breakfronted cavetto moulded base engraved with stylised interlaced foliate motifs, (losses/replacements to dials and motionwork), 22cm (9.75ins) high. Provenance: The beneficiaries of the Estate of an Italian connoisseur collector of horological artefacts and works of art. Comparative literature: Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 pages 182-85 and 189-90. The current lot employs the archetypical 'cruciform' layout to the movement (where the going train is positioned longitudinally in the centre flanked by transverse quarter and hour strike trains) favoured by the south German makers of the finest 'Masterpiece' table clocks from the mid 16th century until the end of the 17th century. From a practical point of view this layout adds a degree of complexity with regards to resolving the lifting of the strike and quarter trains but has the significant benefit of allowing each face of the case to be fitted with dials/features directly relating to the function of mechanism behind. This benefit is particularly relevant when considering the statutory requirement (specifications) of a 'Masterpiece' as dictated by the Augsburg clockmakers' guild in 1558 as transcribed in Maurice, Klaus and Mayr, Otto THE CLOCKWORK UNIVERSE, GERMAN CLOCKS AND AUTOMATA 1550-1650 on page 67: " Mastepieces of 1558 Small-clock makers: A clock a span high, without weights, to strike each quarter-hour. The astrolabe runs as part of the clock. A small flat clock or spherical clock with the phases of the moon; the latter to move forward in time with the hand ." In order for the current lot to fulfil the above requirements it would have need to have been fitted with an astrolabic dial and one showing the phases of the moon. When considering the layout of the clock it is conceivable that an astrolabe was originally fitted to the centre of the side now applied with the twelve-hour chapter disc, however the inscription to the cornice above - DIE . STUND . UND . TAG would perhaps suggest otherwise as this simply translates as THE HOUR AND DAY. From this it is more likely that that the original dial configuration to this side was limited to time, day-of-week and date-of-month functions alone. The other side retains its original year calendar complete with Zodiacal divisions however the central feature is now missing. A clue to what was originally fitted in this space may again be suggested by the inscription to the cornice above - WACHET . DAN . WIST . NIT. Unfortunately there appears to be no direct translation for this phrase, however when considering the inscription in broadly linguistic terms it may be appropriate to speculate that it relates to day and night indication. If this is the case then the centre of the dial may well have originally been fitted with a dial indicating the variance in the relative length of the day and night throughout the year. Alternatively, as more commonly seen, the centre may have featured a disc pierced for the phases of the moon. In addition to either of these two functions the annual calendar dial would have most likely had hands to indicate the date of the year and the zodialogical aspect of the sun. One slight complicating factor regarding the reconstruction of the moving elements to the centre is the presence of the going train winding square. However examination of the going train fusee and other evidence within the movement and quarter-strike side of the case suggests that the going train may have originally been fitted with indirect winding from the side. This would have left the dial centre (and indeed the motionwork behind) free of obstruction. The distinctly two-dimensional external decoration of the current lot is unusual and differs from the fashion for intense sculpted relief made popular by makers such as Jeremias Metzger during the mid 1550's. However the decorative effect of the pierced and engraved profile portraits to the dome is particularly pleasing. The applied stylised flower heads to the angles of the cupola are also unusual being reminiscent of similar decoration seen on Gothic iron chamber clocks of the period. The movement is particularly well executed with fine delicate wheelwork which is remarkable when considering that each wheel was hand forged, cut and filed. The provision of a fairly complex system of warned striking is also testament to the clockmakers technical ability.
Los 187
A Napoleonic coquilla nut snuff box, carved in high relief and undercut to depict European figures in the colonies, the hinged cover showing a French general presenting a portrait to a family, the reverse depicting a huntsman returning to his family with his catch, beneath palm trees, 3.5” across
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